 If you are a lover of cinema, sooner or later you will encounter Alfred Hitchcock. I used to teach film language for five years and I constantly refer to Hitchcock because he is not only very accessible and is somebody that you can easily see the emotional effect his movies and scenes have in people, but also he's somebody that you are not intimidated by as a young filmmaker. He seems to be accessible. The more you know about him actually, the more you realize how absolutely insurmountable it would be to master the technique as he did, but at first it seems approachable because he was very popular. Suspense is very hard to pinpoint. Suspense is a device. It's an emotional device. Hitchcock is the master of it. I think that he without a doubt left cemented, for example, the spy genre and the thriller genre, but Hitchcock is one of his peculiarities is they are incredibly dissimilar one to the other and yet they all bear the imprint of the man. If you think of north by northwest, which essentially predates the James Bond move and the best James Bond ever is Kery Grant. If you think about Notorious, which is an incredibly elegant, beautiful, constrained picture completely controlled, and then you think about Frenzy, which is almost a vomit of vile, an incredibly brutal movie for its time. Frontal, brutal, raw. This is the same filmmaker. His movies contain a lot of comedy. He was a man with an incredible sense of humor, dark, but an incredible sense of humor. But it's not only that. It's the fact that within what is wonderful about an author like Hitchcock is that you think you know the man, but the flavors that reside in the repertoire of this guy are very varied. He's not a guy that repeats himself movie by movie. And yet he's one of a filmmaker that if you know at least 40, 45 of his movies, you start seeing him cannibalize himself, like repeat moments exactly almost. To give you an example in the 39 steps, which I think is the predecessor to north by northwest, there is exactly a moment in which an airplane chases them through a field that is very modest. But you can see him trying it again in north by northwest. You have a poison glass of wine in the foreground and a scene in Lady Vanishes. And then later you see it much better executed, very polished and notorious with the poisoned cup of coffee. You know, if you watch attentively, you can see him go, I'm going to try this again. Hitchcock said repetition in an author is a style. I think there's a he belongs to a generation of incredibly important filmmakers. Some are recognized, some are not. I mean, Carl Reed, Jack Clayton himself, David Lean, I mean, there's there's these are masters at work. But Hitchcock is without a doubt one of the top 10, if not the top three, or the most influential filmmaker of all times, because Hitchcock again influenced everybody that uses film language in some way or another, especially those that approach film in a popular way, like they try to reach an audience. And you can talk about Spielberg, Dario Argento, Brian De Palma, or you can go to Chabrol and Truffaut. He encompasses a lot of type of filmmakers that were influenced by his work. There are filmmakers that create sequences that become text. And, you know, you have several scenes of Hitchcock can be used as textbook for montage, you know, for editing, for tempo, for film language. You know, Hitchcock advocating something that that I believe firmly in, which is pure cinema. He used to say there is a there's a power to cinema that goes beyond and above the screenplay and the story or the dramaturgy, you know. And I believe like he did, absolutely, that the great change in the advent of sound became the fact that many people started filming essentially plays. You know, when sound came, you had silent cinema reaching almost perfection. And then sound comes and a lot of the talkies, quote unquote, become essentially theater plays filmed and Hitchcock resented and mourned that. And I think that for me, the first movie I saw of Hitchcock, the one that made me almost realize what a director did, was one of his lesser, quote unquote, films I confess. I saw it on TV on a red bright red Philco at my parents' house and it spoke so deeply about a Catholic faith and control the emotions. It really hooked me up. And then I does an instance, I think, in which, for example, Hitchcock benefited from a performer that he didn't like, Montgomery Clift, who was completely meth. And Hitchcock resented that enormously. But Clift brings incredible complexity. That was the seminal Hitchcock, that and the birds were the first two I saw on TV. Hitchcock now belongs to to repertoire cinemas. It needs to be seeked to be found. If you are a lover of cinema sooner or later, you will encounter often Hitchcock. Hey, everyone, I hope you enjoyed. I have so much fun making the series. I feel like there is so much you can learn from listening to filmmakers talk about other filmmakers and Del Torre and Hitchcock are two of the best. Hopefully I was able to not only present that to you, but also illustrate what exactly Del Torre is talking about. This video is made possible because of Patreon. If you are interested in supporting the channel, that is the best way to do so. There are a lot of great rewards over there, including early access, a bonus audio commentary, and even getting a say in which videos come next. So if you are interested, there is a link on screen. There is also a link to my recommended videos, including my last video in the Masters on Masters series, and all of my videos covering Del Torre and Hitchcock's work. So if you are interested in that, check it out, and thank you for watching.